Matthew Shipp: piano
William Parker: bass
Daniel Carter: saxophones & flute
Guillermo E. Brown: drums
FLAM: synths & programming

Recenzja z Allaboutjazz.com:

Three decades ago, Herbie Hancock revolutionized the role of the piano by melding it with a textured funk groove. The popular result, Headhunters, opened a whole generation's worth of ears to the accessible new sound. And it exemplified a rule that jazz players everywhere have taken to heart: context is everything.

Matthew Shipp takes Hancock's lead on Nu Bop, which encompasses a full range of sound from acoustic improvisation to funk, hip-hop, and electronica. His colleagues on this record include the rest of free jazz saxophonist David S. Ware's rhythm section (bassist William Parker and drummer Guillermo E. Brown), who translate their intuitive relationship quite effectively into the new context. Parker has never shied from new forms of musical expression, and his approach to the funky bass has an interesting angularity—while unswervingly protecting the beat. We've heard Brown ease into down-home grooves before, and this disc offers more evidence of his fluid versatility. With the addition of electronics, Brown treads the line between programmed beats and live drumming. The odd man out on this urban workout is flute/saxophonist Daniel Carter. For the most part, he keeps quiet—but when he lends his voice to the group sound, it assumes a floating, ethereal quality (regularly enhanced by effects, of course).

Shipp mixes up the performances on Nu Bop, interspersing spacey improv pieces with heavy-driving grooves. "Nu Abstract," toward the end of the record, makes heavy use of electronic textures to achieve an open, spacious feel. "ZX-1," on the other hand, is an acoustic piece in which Shipp lays down a series of evolving harmonies. "D's Choice," moments later, takes hip-hop beats to town, along with a layer of electronic sounds and scratchy noises. And of course a number straight-up urban groove pieces dot the rest of the record. A few moments of choice banter at the end of "Rocket.......
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Matthew Shipp to rozchwytywany i utalentowany pianista oraz wokalista jazzowy. Na koncie ma wspólpracę m.in. z DJ Spookym, Scannerem i Anti-Pop Consortium.

Recenzja z Allaboutjazz.com:

Three decades ago, Herbie Hancock revolutionized the role of the piano by melding it with a textured funk groove. The popular result, Headhunters, opened a whole generation's worth of ears to the accessible new sound. And it exemplified a rule that jazz players everywhere have taken to heart: context is everything.

Matthew Shipp takes Hancock's lead on Nu Bop, which encompasses a full range of sound from acoustic improvisation to funk, hip-hop, and electronica. His colleagues on this record include the rest of free jazz saxophonist David S. Ware's rhythm section (bassist William Parker and drummer Guillermo E. Brown), who translate their intuitive relationship quite effectively into the new context. Parker has never shied from new forms of musical expression, and his approach to the funky bass has an interesting angularity—while unswervingly protecting the beat. We've heard Brown ease into down-home grooves before, and this disc offers more evidence of his fluid versatility. With the addition of electronics, Brown treads the line between programmed beats and live drumming. The odd man out on this urban workout is flute/saxophonist Daniel Carter. For the most part, he keeps quiet—but when he lends his voice to the group sound, it assumes a floating, ethereal quality (regularly enhanced by effects, of course).

Shipp mixes up the performances on Nu Bop, interspersing spacey improv pieces with heavy-driving grooves. "Nu Abstract," toward the end of the record, makes heavy use of electronic textures to achieve an open, spacious feel. "ZX-1," on the other hand, is an acoustic piece in which Shipp lays down a series of evolving harmonies. "D's Choice," moments later, takes hip-hop beats to town, along with a layer of ele.......
more